Medical

Detail from “The love potion”, by the nineteenth century Pre-Raphaelite Evelyn De Morgan. The tangled tale of Aqua Tofana is intimately connected to the “criminal magical underworlds” of the 17th century, which supplied love philtres, potions, medicines and poisons to a mostly female clientele.

Early in the autumn of 1791, while he was still hard at work on the great requiem mass that would form such a large part of his legend, Wolfgang Amadeus Mozart fell seriously ill. Convinced that there was no chance of recovery, he

began to speak of death, and asserted that he was setting the Requiem for himself… “I feel definitely,” he continued, “that I will not last much longer; I am sure that I have been poisoned. I cannot rid myself of this idea… Someone has given me acqua tofana and calculated the precise time of my death.

Scholars have wrangled now for two full centuries over the circumstances of the great composer’s passing. A handful have concluded that he really was murdered. Most support rival diagnoses of syphilis, rheumatic fever or even the deadly effects of eating undercooked pork chops. Whatever the truth, though, and however he died, Mozart was certainly convinced that there existed a rare poison, one that was colourless, tasteless, odourless, beyond detection – and also so flexibly murderous that a carefully-calculated dose could guarantee a victim’s death a week, a month or even a year after it had been administered.

Nor was the composer alone in this belief. Forgotten though it is today, the mysterious liquid that he feared so much was one of the great whispered secrets of early modern Europe. Aqua Tofana was credited with what amounted to supernatural powers, and blamed for hundreds of agonising deaths. Which is odd, since it is very far from clear that it ever existed – and, if it did, what it was, where it was invented, where first used, and when and how it got its name. Continue reading →

St Francis receives the stigmata. From a foil plaque on a 13th- century reliquary.

On September 14, 1224, a Saturday, Francis of Assisi—noted ascetic and holy man, future saint—was preparing to enter the second month of a retreat with a few close companions on Monte La Verna, overlooking the River Arno in Tuscany. Francis had spent the previous few weeks in prolonged contemplation of the suffering Jesus Christ on the cross, and he may well have been weak from protracted fasting. As he knelt to pray in the first light of dawn (notes the Fioretti—the ‘Little flowers of St Francis of Assisi,’ a collection of legends and stories about the saint),

he began to contemplate the Passion of Christ… and his fervor grew so strong within him that he became wholly transformed into Jesus through love and compassion…. While he was thus inflamed, he saw a seraph with six shining, fiery wings descend from heaven. This seraph drew near to St Francis in swift flight, so that he could see him clearly and recognize that he had the form of a man crucified… After a long period of secret converse, this mysterious vision faded, leaving… in his body a wonderful image and imprint of the Passion of Christ. For in the hands and feet of Saint Francis forthwith began to appear the marks of the nails in the same manner as he had seen them in the body of Jesus crucified.

In all, Francis found that he bore five marks: two on his palms and two on his feet, where the nails that fixed Christ to the cross were traditionally believed to have been hammered home, and the fifth on his side, where the Bible says Jesus had received a spear thrust from a Roman centurion.

Thus was the first case of stigmata—the appearance of marks or actual wounds paralleling those Christ received during Crucifixion—described. Later stigmatics (and there have been several hundred of them) have exhibited similar marks, though some bear only one or two wounds, while others also display scratches on their foreheads, where Christ would have been injured by his crown of thorns. Through the centuries, stigmata has become one of the best-documented, and most controversial, of mystical phenomena. The extensive record makes it possible to compare cases that occurred centuries apart.Continue reading →

Philippa Fawcett. When she placed first in the Cambridge mathematical tripos in 1890, she forced a reassessment of nineteenth-century belief in the inferiority of the “weaker sex.”

To be a woman in the Victorian age was to be weak: the connection was that definite. To be female was also to be fragile, dependent, prone to nerves and—not least—possessed of a mind that was several degrees inferior to a man’s. For much of the 19th century, women were not expected to shine either academically or athletically, and those who attempted to do so were cautioned that they were taking an appalling risk. Mainstream medicine was clear on this point: to dream of studying at the university level was to chance madness or sterility, if not both.

It took generations to transform this received opinion; that, a long series of scientific studies, and the determination and hard work of many thousands of women. For all that, though, it is still possible to point to one single achievement, and one single day, and say: this is when everything began to change. That day was June 7, 1890, when—for the first and only time—a woman ranked first in the mathematical examinations held at the University of Cambridge. It was the day that Philippa Fawcett placed “above the Senior Wrangler.”

To understand why one woman’s achievement so shook the prejudices of the Victorian age—and why newspapers from the New York Times to the Times of India thought it worthwhile to devote thousands of words to an exam that today means little to anybody but the students themselves—it is necessary to understand why Cambridge mathematics mattered in the 19th century. Continue reading →

Early on the morning of 18 February 1848, two men and a woman walked into the square in front of the Porte de Hal, in Brussels, where a public execution was due to take place shortly after dawn. They were there to conduct a ground-breaking scientific study, and, by prior arrangement with the Belgian penal authorities, were permitted to climb onto the scaffold and wait next to the guillotine at the spot where the severed heads of two condemned criminals were scheduled to drop into a blood red sack.

One of the men was Antoine Joseph Wiertz, a well known Belgian painter and also a fine hypnotic subject. With him were his friend, Monsieur D_____, a noted hypnotist, and a witness. Wiertz’s purpose on that winter’s day was to carry out a unique and extraordinary experiment. Long haunted by the desire to know whether a severed head remained conscious after a guillotining, the painter had agreed to be hypnotised and instructed to identify himself with a man who was about to be executed for murder. More

Oddities, striking characters and incidents, strange days... this is history with all the interesting bits left in, by the author of Batavia's Graveyard, Tulipomania and The First Family.

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